Maisie Peters, the good witch herself, visited her Canadian coven last week, casting enchantments and dancing away with her fellow witches. Peters, who is currently on a North American tour playing headline shows across the United States and Canada, performed for a packed room at History in Toronto in support of her new album The Good Witch.
Peters, who first played to around 300 people at her first gig in Toronto at The Velvet Underground, took the 2500 cap under her spell and make the room feel like she was playing Glastonbury again — her performance full of punchy and powerful hits like “Not Another Rockstar,” “I’m Trying (Not Friends)” and fan favourite “Lost The Breakup.” After hitting the road playing stadiums with Ed Sheeran, Maisie Peters has learned a thing or two about balancing a mix of entertaining a crowd while keeping things light and free.
Known for her straight-from-her-diary lyrics and knack for creating songs that weave both personal and universal themes throughout, Peters’ has garnered a fanbase of listeners who find solace and comfort in how she bluntly opens up about her experiences. One of the most touching moments of the night was during “There It Goes,” a song where Peters talks about finding strength and healing through things like flowers, going to yoga with her friends, and more, after a break-up. The crowd never overpowered Peters’ own voice, opting to be her own built-in background singers as she sang “The universe is shifting/And it’s all for me, all for me.”
Toronto was the first Canadian stop on the tour which, naturally, meant that “Cate’s Brother,” a song that mentions one of Peters’ Canadian friends and singer Cate Canning and became TikTok’s favourite tune, was a crowd pleaser. It’s just one chapter of what some fans would describe as “the Maisie Peters Cinematic History.” Like her fellow singer-songwriters that paved the way, Peters’ own lore is referenced by fans and her alike as she touches on how they share the same affinity to “John Hughes Movie,” a song she declares as one that helped shape their bond. With the medley of “Two Weeks Ago,” “Worst of You,” “You Signed Up For This” and a One Direction cover of “Night Changes,” Peters dipped into every era of her music and childhood with a nod to the famous boyband. Creating her own universe means to create characters and comrades that appear in her stories — the rockstar from “Not Another Rockstar,” the person who inspired her to write “I am both Kathy Bates and Stephen King” from “BSC,” and the band that shared the 12 bed bus with her on “The Band and I.”
As someone that took her best friend as her date, looking at the wide-eyed crowd — full of best friends and friends made in the line as they waited — the moment Peters hit the stage was an emotional scene. Peters’ crowd shares a special bond with each other; they dress up in “Wendy” costumes, they wear snarky and sweet tees in honour of “their mother,” and hold one another during the most tender moments. Music is one of the greatest ways to create a bond — a shared type of magic that brings people together and becomes the soundtrack of their lives. For the people who danced, sang, screamed and cheered every word that came out of Peters’ mouth, the concert will be one they remember as a shared memory — a momento of the evening, kept inside of them like a spell, brought up to remember exactly how they felt together.
Influenced early on by his musician father, BADCHIEFF, born Shivan Darouiche, began experimenting with music at 13, drawing from Jazz, Soul, Rock, and Electronica to shape his ever-evolving sound. Now BADCHIEFF is sitting down with Schön!, fully dressed in Louis Vuitton, to discuss honesty and vulnerability in his music.
After making a name for himself in Munich’s club scene and signing with truworks in 2019, Badchieff released a string of acclaimed projects, including his debut album ‘Chieff Loves You’. “All of my songs are based on personal experiences,” he shares, reflecting his emotionally raw and honest creative process. Early singles like “9bis9” and “Tempo” also played a key role in making him known, helping him build momentum as one of Germany’s most promising new voices.
For the once-destined basketball athlete, music has been a playground for self-expression since he was 13 years old. “My father is a musician, so music was always around us in the house,” he recalls. This rich environment set the stage for years of musical experimentation. BADCHIEFF’s genre-blending talent earned him a solid foothold in the music industry in 2019.
Following the release of his debut EP ‘1999.jpg’ that same year, and its successor ‘Might Delete Later,’ Badchieff’s distinctive sound has echoed through clubs across Paris, London, and New York. His 2021 debut album ‘Chieff Loves You’ marked a bold, multifaceted dive into his wide-ranging musical inspirations, resulting in a refined and captivating body of work. “I must be in an honest frame of mind to make music,” he tells us. “Some days I feel distracted, but after moments of self-reflection, I can make something real.”
His forthcoming album ‘HEUTE ODER MORGEN,’ or ‘Today or Yesterday’ in English, is a “nostalgic” album that reflects on BADCHIEFF’s life “and how my past changed me into who I am today.” To celebrate its release, he will embark on an album tour later this year in December. “I’m really excited to play the new songs live,” he says. “It’s been a little boring for me to play the same old songs, so I can’t wait to share the new music with my fans.”
full look. Louis Vuitton
full look. Louis Vuitton
opposite
full look. Louis Vuitton
left.
full look. Amiri
vintage bracelet. World Vntg
ring + necklace. Maor
loafers. Gh Bass
right.
shirt. Dolce&Gabbana
jacket. Dolce&Gabbana
pants. Second/Layer
boots. Jimmy Choo
In life, it’s often the small, seemingly trivial choices that shape our biggest moments — the butterfly effect, as chaos theory names it. For Belmont Cameli, a young actor navigating an industry of constant pivots and resets, that idea feels personal. It’s fitting, then, that his latest project, Until Dawn, plays directly into this — a time-loop horror film where every decision, no matter how minor, triggers a new outcome.
When Schön! connects with Cameli, he’s sitting in what he describes as his “workstation.” Behind him, a wall of vinyl records catches the eye. They’re not just decoration but an active passion for the Illinois-born actor. “I collage record covers,” Cameli explains, smiling. “Wherever I am, I’ll go to the dollar bins, grab as many as I can just based on the artwork, and then I glue them down, frame them, or just pin them up. I’m working on a really big one for my bedroom right now.”
This space, filled with records he’s deemed too scratched or dusty to keep spinning, is where Cameli relaxes, creates, and occasionally makes music — a drum set lurks nearby. “The records I actually spin are downstairs next to my player,” he says. It’s a grounding space for someone whose professional life has been anything but still lately.
“It’s been a really good time,” Cameli says with genuine warmth. “In the past two months, I had Alto Nights come out, which I did with Barry Levinson and Robert De Niro — that was really special, especially sharing it with my friends back home. And then Until Dawn just came out last weekend, and promoting that has been so much fun, especially with the cast — all four of whom are like my best friends.”
He’s aware, though, that every upswing comes after a climb. “I’ve been through multiple lulls in my career, including the pandemic,” he says. “I got out to L.A. at the end of 2019, so I’ve known a lot of ups and downs. Right now, I’m on an upswing, which is great, but mostly I’m just staying present and enjoying myself.”
Throughout his career, Cameli has resisted being typecast. After his TV debut on Empire in 2018, he landed a starring role in Netflix’s Along for the Ride. “I’ve always wanted variety,” he says. “I find myself somewhere between the leading man and the character actor categories, and I love that space. Comedy, romance, period drama, horror — they all teach you something different.”
He speaks affectionately about Saved by the Bell, where he got his first substantial television role, and about reconnecting with cast mates like Josie Totah,Dexter Darden, and John Michael Higgins. “John Michael Higgins is basically my comedic north star,” Cameli says. “I love him so much. It’s been really meaningful to see how we’ve all grown and stayed connected over the years.”
For those unfamiliar, Until Dawn is a beloved horror game that has now been reimagined for the big screen. And for Cameli, it’s his first full plunge into horror — a genre he’s long admired. “I’m a huge fan of horror and I have been ever since I was a teenager,” he says. “I don’t remember how old I was, but I snuck out of the house and went to the theatre to see Sinister with Ethan Hawke. Someone told me they did research on what’s the most disturbing horror film that raises your heart rate the most, and apparently, that’s it. It was the first one I saw, and I sat in the front row. I’ll never forget how exhilarating that experience was.”
That thrill has followed him, and with Until Dawn, he finally got his own shot at scaring audiences. The production embraced practical effects over CGI, something Cameli found fascinating. “We worked with tremendous artists, especially in prosthetics. They built four or five life-size silicon replicas of my body to desecrate onscreen, which was really fun,” he says, laughing.
His character, Abe, stands apart from the main group. “The four loyalties are between the rest of the characters, and Abe is only recently added to the group via his relationship with Nina,” Cameli explains. “He doesn’t have the same patronage to these characters. He doesn’t feel hell-bent on protecting anybody but himself. His selfish, self-involved nature actually makes it more likely he’ll survive. He’s cerebral, he thinks highly of himself — he’s a psych major — and he’s not afraid to hurt anyone’s feelings because he doesn’t particularly care about them.”
While many actors might find such a role isolating, Cameli relished the contrast — after all, his favourite from the game, Josh, isn’t really the most sociable of the group. “It was really fun to play that friction,” he says. “I think when I first read the script, I thought, ‘Ooh, this is good — I get to bring the friction.’”
The film, directed by David F. Sandberg, was shot over five months in Budapest — a stretch of time Cameli remembers vividly. “We were in the same clothes the whole time, because it’s one night,” he says. “We had probably sixty different versions of that costume. And we were constantly covered in dirt, blood, you name it. There were only maybe a handful of days where we were clean on set — and those were during the summer, so we were sweating our balls off anyway,” he laughs.
The behind-the-scenes experience was just as thrilling as the final product. Before filming, Cameli underwent full-body casting to create the film’s practical effects. “The first thing I did was go to Toronto, where they covered my body in plaster,” he recalls. “It heats up; you feel like you’re in a sauna, and you break an incredible sweat. That takes about thirty minutes. Then for the arms and head, they do them individually with blue silicone. They leave holes just for your nose. It takes thirty minutes — your eyes are closed, you can’t see anything, can’t really hear — but I found it very zen. I almost fell asleep!”
tank top + trousers. Nanushka
belt. Stylist’s Own
bracelet + ring. Maor
full look. Amiri
vintage bracelet. World Vntg
ring + necklace. Maor
loafers. Gh Bass
Despite the dark subject matter and intense night shoots, the cast’s camaraderie was a highlight. “I can’t say enough about how incredible these folks are, as people and actors,” Cameli says warmly. “Michael Cimino is the sweetest person alive; I love him so much, he’s like a little brother to me now. Ella Rubin is like a little sister — she went through it on this production, doing physically exhausting stunts every day. Odessa A’zion is one of the craziest, funniest people I’ve ever met. And Ji-young Yoo is the scream queen — she came prepared, knowing how to scream for sixteen hours and still carry a conversation on the ride home.”
While the original Until Dawn game gave players control over character choices, the film had to chart a new path — something Cameli embraced. “I wasn’t familiar with the game when I first read the script,” he says. “But when I reached out to my friends who game, I quickly realised how much it meant to them and how popular it was. Once we got to Budapest, production got us a PS4. We all stayed together, and the cast would come over and play. Honestly, it’s nearly impossible to play that game by yourself because it’s scary as shit — but with a chorus of opinions on the couch behind you, it’s even harder!”
full look. Entire Studios
shoes. Second/Layer
Asked what he hopes audiences take away from the film, Cameli’s answer is refreshingly straightforward. “It’s an exhilarating film to watch in a theatre with your friends,” he says. “It’s the kind of movie where someone inevitably blurts something out early on, and then it’s fair game — people are screaming, laughing, reacting together. I’ve seen a lot of cerebral, contemplative films lately, which I love. But I also love movies like this, where you walk out talking about it for the next thirty minutes.”
Looking ahead, Cameli is hungry to keep mixing things up — and yes, horror is very much still on his radar. “I have my sights set on playing a villain — that would be really fun. Next, I have something I can’t talk about yet, but I’m very excited about it. More than anything, I look forward to diversifying my characters. It’s the most fun for me to work on projects that are different from the last.”
Chloe Slater is a breath of fresh. Raised in Bournemouth and based in Manchester, the 22-year-old singer-songwriter has a distinctly British sound that feels both like a throwback and a glimpse at how Indie Pop is evolving. Shining a light on British talent outside of London, Slater offers a more nostalgic nod to the guitar riffs and British accent-forward melodies of the mid 2000s. She has an undeniable ear for a catchy hook, emotive buildups and diary-like songwriting that pulls you into her world. The young start isn’t afraid to critique society in her writing, too. Her latest EP ‘LOVE ME PLEASE’ is filled with infectious tracks exploring girlhood, love and life, and is well worth listen for its sonic world building. As she sets off on her first festival tour across UK and Europe this month, the rising star chats to Schön! about her come up and curates a playlist.
Hey Chloe, what are you up to right now?
Right now I am waiting for my band to start rehearsals for the Alessi Rose tour! I’m also snacking on chocolate so life is good.
Can you tell us what was the music scene like in your hometown?
I grew up in Bournemouth which doesn’t really have much of a music scene. I also spent my late teens in covid lockdown while living there so I didn’t really get to experience loads of it. Moving to Manchester where the music scene is so huge felt like a dream come true to 18-year-old me.
What artists did you grow up hearing that helped shape the kind of music you make today?
My main influences from a young age have been Arctic Monkeys, Wolf Alice and Sam Fender. I have also loved Paramore [since] forever and Hayley Williams’ solo music.
When did you start making music yourself?
I started writing music when I was 13 but I was always far too shy to show it to anyone. I didn’t end up working with a producer until I was 18 or 19 years old.
How would you describe your sound to someone who has never heard it before?
I would describe my sound as indie rock with sprinkles of pop and punk. It’s outspoken, sometimes satirical and often angry.
Can you share why ‘Love Me Please’ was then perfect title choice for your new EP?
Most of the songs on the EP in one way or another present the idea that all anyone wants and needs is to be loved and accepted for what they are. Whether that be women weighed down by the constraints of their body image in ‘Fig Tree,’ people desperate to hold onto five seconds of fame and attention in “Tiny Screens” or even my own plea for kindness in ‘Imposter.’
What do you think your EP says about your current era?
I think ‘Love Me Please’ shows that my music has evolved to expose a more vulnerable side of myself that I was perhaps nervous to show in ‘You Can’t Put a Price on Fun.’ I’d like to think it represents a more confident era.
We love that your lyrics are very observant about the world we live in. What do you think made you so comfortable exploring social commentary through music?
I think I’ve always loved writing down my thoughts and the things that make me angry. I’ve always found it a lot easier than talking about things like that out loud.
What did you learn the most from your recent UK tour?
It’s definitely important to take care of your voice! I was so afraid of getting a sore throat so I made sure I was super hydrated and did all my warmups. I think it’s important to strive for longevity with touring, especially as live shows are one of my favourite parts of what I get to do. I’m definitely learning the best ways to keep myself going.
